For the cineastes among you, I recently caught up with filmmakers and fanboy Gods Sam Raimi and Rob Tapert for a chat regarding the latest release from their Ghost House production studio, 30 Days of Night. The resulting article will be printed in Scene Magazine for the Queensland residents amongst you, but why let the transcript go to waste?

In Part 1, Raimi and Tapert discuss adapting Steve Niles and Ben Templesmith’s graphic novel, discovering the true nature of horror at the drive-in with Bruce Campbell, Raimi’s views on the Spider-Marriage, and those pesky Spider-Man 4 and Hobbit rumors.

Hi guys, how are you?

Rob: Good, Rohan, how are you?

Sam: It’s nice to speak with you, Rohan.

Thanks, I’m well. How was your Thanksgiving weekend, guys?

Sam: It was wonderful! I got to see all the kids, we made a turkey… it was very nice family time.

That’s good. First off, guys, congratulations on the success of 30 Days of Night. Which one of you first came across the source material, and what was your initial reaction?

Rob: Sam and I were given the first graphic novel, it’s a three-parter, and an unfinished portion of the second one… still in black and white, and really incomplete, there weren’t even bubbles all the way through it… as a possible feature by one of the agencies, and we thought it was a really great high concept idea, and a real interesting take on vampires. And what we were originally sent, and what Steve Niles came and pitched, involved an interesting love story that we thought would help differentiate it from traditional vampire pictures.

Sam, was there ever a point where you considered directing the film yourself, or did you always see it as a Ghost House picture that you’d pass on to somebody else to direct?

Sam: I was always so busy and committed to the Spider-Man pictures- especially at that time, I think I was finishing Spider-Man 2 and had already committed to Spider-Man 3- that it was never even a possibility to consider it. It was really just Rob and I looking for material for Ghost House pictures at that time.

Ghost House has turned out some great horror movies at this point, but when did you guys fall in love with horror films? Were you into cinema before you were into horror, or was it horror that got you into cinema?

Sam: Thanks for the compliment! We were into cinema first. Rob and I used to make Super 8 movies at Michigan State University, and they were comedies and pseudo-dramas. I remember one film we did was called The Happy Valley Kid, it was the story of a student driven mad. Rob was the producer but also the star of the picture, I directed the film and we worked on the script together.

Basically, we never made horror movies. Rob said to me one day, ‘I’d love to make a feature film’, and I said, ‘okay, I’d love to make a feature film with you’, but after the little bit of research he did, he said, ‘Sam, I recommend we make a horror movie’. Because the cheap movies… we’ll only be able to get a certain amount of money, he explained to me, if we’re lucky we can get a low amount of money, and even then it’ll be a long shot… but even if we can get that money, the only movies playing for that amount of money are these cheap horror movies in the drive-in theatres, before video. At the drive-in in Michigan, they used to show these really cheap American or Italian or English horror films. And so he said, ‘can you make a horror movie?’, and I said, ‘I don’t know, I’ve never made a horror movie!’

So Rob said, ‘well, I’ll take you to one, and you can tell me if you can make a horror movie as good as the one we’re going to see’. So he took me to the theatre and we saw Halloween. Remember that?

Rob: Yeah! We were all alone!

Sam: (Laughs) We were all alone, and he said, ‘well, can you make a movie as good as that?’

(Laughs) And I said, ‘gee, I don’t think so, they’re much better than I thought they were!’

(Laughs) We didn’t know what a phenomenon it was at the time, but then we saw it later with a crowd and we realized that this was a very unique, wonderful horror film, a well crafted film.
So then Rob, myself and Bruce Campbell sat in hundreds of drive-ins… not hundreds, but tens of drive-ins, watching these movies and learning how they were made, and we started to make our own in Super 8. And that’s really how we got into horror films. After a while we learned to really like them, and the craft that went into them.

Do you think that your future producing credits will stay in the horror genre? I ask because as a director, especially with the Spider-Man films, you seem to have done away with the concept of genre altogether. As a producer, though, you’ve concentrated on horror. Are you looking to produce other stuff?

Sam: I’m really happy with horror. I really like the idea of building suspense and getting the audience on the edge of their seats, and them knowing that a big scare is coming, and watching as the director delivers that scare. It’s real fun, it’s like building a spook house! It’s really easy to gauge the response. But Rob and I would like to produce other kinds of films, too. We have, in the past, worked a little bit on science fiction, and I think we liked that, too.

That’d be cool. Do you have any inclination yet towards whether you’d like to produce or direct the next Spider-Man movie, or is too early to call?

Sam: I think that’s going to be up to Sony Pictures, and I think that it’s too early for them to say, actually. But currently I’m working on… well, not now, but as soon as the writers strike’s over… I’m going to begin working with a writer on the screenplay.

Is it important to you that the story follows on from the first three? I mean, how important is internal continuity to you? Can you go Evil Dead-style and change details a little bit, maybe change the story up a little bit?

Sam: If I was writing it I would have a very strong opinion about that, but we’re hiring a writer to come up with his own take. Sony was willing to go either way, we’ll just have to wait and see what the writer comes up with. I think anything’s possible, though.

I mean, there’s been so many different versions, it doesn’t have to follow the movies that we’ve made. I’d very much like to see Tobey Maguire as Spider-Man, so I have a personal interest in that, but certainly anything’s possible. Spider-Man’s such a big character in the comic books that he could endure a lot of different interpretations. You could start over or you could start with a different aspect of the story than I’ve focused on in the pictures I’ve made, we’ll just have to wait and see what the writer comes up with.

Do you think the story will still be interesting if Spider-Man moves on and gets married? Because within the world of comics, a lot of writers complain that once he got married the stories weren’t as interesting, and the movies seem to be heading towards that. As someone who’s a married man and has a family, what do you think of this idea that he can’t be interesting once he’s married?

Sam: He’s most powerful to me as an adolescent. The thing that Stan Lee created that was so special was that he was a very young character, and he’s a kid trying to deal with these fantastic powers. The idea of being married counters that a little bit. It’s a place of accepted responsibility versus being on the road to learning responsibility. It’s associated with adulthood versus being the ultimate kid who’s a superhero. So it’s not that you couldn’t tell a good story with a married Spider-Man, but my favorite Spider-Man is the unmarried one.

As your films become more successful, and connect with more people, have they also become more personal, in a strange kind of way? Because to me, each new Spider-Man film, for example, feels more like a Sam Raimi film than the last one.

Sam: Well, you know, when I first started making the Spider-Man films, I tried to stay as true to the comic book as possible, and not push my own personal styles or tastes onto the film. I really just tried to make something that was true to the comic book, and true to the idea of the comic book. And then, when it came time to make a sequel to that film… well, then I had a different master I had to follow, I had to make a sequel to the film, not the comic book. So it took on a little bit more of a filmic DNA, and therefore maybe more of what I do. And maybe that process just kept happening. That’s the best I can say.

Sure. When you started work on the sequels, were there other movies you could look to for inspiration? Did you like any of the other superhero sequels that had come out?

Sam: I hadn’t really seen many of them. I really liked the X-Men movies. I thought X-Men was great, and I thought Bryan Singer did an excellent job with X-Men 2. I love Superman…

I was going to say, there’s a few parallels with Superman II and III in the corresponding Spider-Man films.

Sam: There probably are, and I loved Superman II. I thought Richard Donner and Richard Lester both did a great job. It’s hard to say who did what on that. I don’t know, but I’m sure the aficionados know. That was another great picture. I cannot remember Superman III.

(Laughs) I don’t think you’re alone there.

Sam: I think I saw it once, years later. But I love the first two. I would say, though, that I was influenced by the Stan Lee comic books. All the ideas came out of those Stan Lee comic books, and the artists that drew them, from Romita to Steve Ditko. That’s where all the ideas for the Spider-Man films came from. As much as I love the Superman films, they weren’t really the source material.

Sure. As fans of the original source material, is there a particular villain that you and Rob would like to see in future Spider-Man movies?

Rob: I wanna see Spider-Man Vs Predator!

Sam: I’m trying to not voice an opinion on that, because I’m trying to let the new writer proceed unmolested by me. I want somebody who’s got a really fresh take on the material, and I think that’s what’s best. I’m afraid to prejudice the decision making process right now by forcing my own desires upon them.

Rob, do you think there’s any way you can convince Sam to direct another straight-up horror movie? Maybe starring Bruce Campbell? Can a fanboy dream?

Rob: (Laughs) You know, Sam keeps promising Bruce and I that we’ll work together, and Bruce and I know that Sam is a man of his word. That day will arrive someday!

(Laughs) Sure. As long as we’re addressing rumors and fanboy dreams for a second, has there been any progress made with you and The Hobbit at all? Is that something you’re still interested in pursuing?

Sam: It’s not really my choice. The Hobbit has always been Peter Jackson’s picture, and I believe from what I’ve read that he is back in negotiations with New Line Cinema, and like all fans of his, I’m hoping that he’ll make it. So until I hear differently, I’m going to assume that’s what’s going to happen. Now, if he ever decides not to make it, I would love to be considered for it.

It’s a great result either way for film fans.

Look out for Part 2, in which Raimi talks about the evolution of his directorial style and tries to sell you a used car, while Tapert fills us in on 30 Days’ sequel prospects.

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46 Comments

Ian

Honestly, what’s most important is to bring the story back to it’s fans the way it was meant to be. They started off the story well in the first two movies, almost setting up the entrance of venom perfectly. However, the third movie left everyone wanting more venom. The fans deserve a full venom story, that includes venom as the one main villian for the entire story. But in my opinion, one way to do the 4th movie would be to keep following the venom story, with him as the feature villian, with a twist at the end of the movie to lead in the 5th movie with the entrance of Carnage, and the story behind him as well.

Louis

Ok, so I’m stupid tired and I was thinking about Spiderman 4, 5 and 6.

I want to use the Lizard as an initial villain that Spidey defeats and turns back to his professor, he doesn’t turn him into the cops because he feels pity and although the Lizard was savage, he was not evil.. He could also break up a hostage situation and capture a completely insane Cletus Kasady, who fixates on him and is very obviously deranged and PP is thankful he was only human.

I like Kraven as a Crocodile Hunter type on a special steroid fed to him by his trainer/FX guy, and have him put together a team of Sandman, Vulture, Rhino and Electro, and the Scorpion, all created by the FX guy with a combination of his drugs and technical skills (we can even allude that he worked at Oscorp on the performance enhancers/glider project, and got hold of design for Doc Ocks arms to create Scorpions tail). All vying for $10MM put up by the Bugle for the capture of Spiderman! JJJ really doesn’t think anyone could catch him, so believes the money is safe. Kraven, of course, would only be using the rest of the six to wear Spiderman down so he could have a real shot at capturing him and taking it all for himself. Of course Spidey takes them all down, using their inability to work together to his advantage. Lizard, now with some of his faculties, can pop in for a save here or there, feeling he owes Spidey.

Nice opportunity for the end, where Spidey and the Lizard, stage a capture to collect the reward and JJJ weasels out of it, commenting on all the costumed kooks coming out of the woodwork and how it must be Spiderman’s fault.

Multiple epilogues:

MJ leaves for California to follow her career, she has not been able to focus on her work haunted by her experiences with Spiderman. PP talks to Aunt May but is having difficulty explaining why MJ left and keeping his Spidey secret. Aunt May tells him that he doesn’t need to explain and that he can talk to her about anything. After Peter leaves, she pulls out an photo album that shows her and Ben and Peter’s parents, young Peter and Ben, various awards etc from peter through HS and a combination of Peter’s photos and Spiderman stories, she adds latest stories from the paper and mutters to herself “he’ll tell you when he’s ready old girl” winces a bit and rubs her chest. PP wants to date Gwen Stacey, but she doesn’t notice him and only has eyes for Spidey. The Russian girl that lives next door, comforts him and he finally acknowledges that she is the only one who is nice to him as PP and doesn’t care about Spidey, perhaps a kiss?

Gwen creates a Black Cat type costume thinking she might be able to meet Spidey easier that way.

From Kraven’s crew, his special effects artist/dealer decides, after watching Spidey in action, he can handle him and creates the identity of Mysterio, using all of his tinkering and chemical expertise.

Lizard gets completely cured, and returns to his family and takes a hiatus from the university, he took a sample of Spidey’s blood and knows he is PP, but doesn’t say anything.

A lab student gets a hold of some of the lizard formula, venom material, and Parker’s blood from Connors lab. He believes he can unlock some of the potential in his own DNA that he thinks explains his perfect photographic memory, with this biochemical stew. He experiments, trying to refine the properties of all three samples and reduce the side effects after injecting himself he finds that he is much stronger and faster than ever and he can now perform any act he sees. He duplicates a complex series of flips after watching video of spiderman in action, he is poor and now that Connors is gone he has no income and thusly the Taskmaster is born.

Cletus Kasady is shown catching and eating spiders in his cell, cellmate huddled in a corner, terrified. A pathetically weak venom symbiote crawls up from the sewer drain, now colored red and black, drawn by Kasady’s hatred of spiderman, a recreation of the initial symbiote bonding to PP in the 3rd film. This time, instead of shock, Kasady’s eyes open slowly and he sings: “The itsy bitsy spider……” and forms a blade on his hand from the symbiote.

Spiderman 5

Spiderman catches Black Cat coming out of Gwen Stacy’s apt and captures her, thinking she is a burglar. She reveals her ID and he scolds her that this is not a game, that people die and he may not always be there to save her. She is miffed and is determined she can show him she can keep up.

Cletus Kasady passes his psyche evaluations easily and is put on an outdoor work detail at a landfill. He uses his symbiote to cut his chain and escape.

The Osborne penthouse is closed up, the will is in probate and no heirs have been found. Turns out that the property reverts to what is left of Oscorp, now headed by a young cut-throat exec type who bought the company to sell its assets off, he is first shown beating someone bloody in a boxing ring as a lesson in business, he finds all of the goblin gear and decided to keep the place but definitely redecorate. He hates green.

Spidey is getting along with the Russian girl but nothing serious. He is completely PP with her and has to make lots of excuses that she always forgives when he needs to dash off.

A promoter challenges Spidey to a match against Taskmaster, an unbeaten cage match wrestler, Spidey figures he’s done it before soâ€¦.nice battle, Spider sense saves the day, barely. The promoter weasels out of giving Spidey any money because he will only pay by check, so Spidey ends up donating the money to an orphanage charity so that the promoter can’t keep it. He tries to enlist Taskmaster in the whole Great power yadda yadda, humiliated, he responds that he will turn his power into wealth, somehow.

Gwen eavesdrops on her father’s conversation about something strange going on at the Osborne penthouse. Gwen is shown sneaking in and getting knocked out in a rush of orange and gray cloth.

Aunt may has a heart attack, Peter feels guilty about not telling her his secret ID, a news story comes on that Gwen Stacy is being held hostage, Aunt May wakes up and insists that Peter go save her, he feigns the wimp and asks what he can do. Aunt May confessions that she has known he was Spiderman since that awful Dr. Octopus. “I’ve known you since you were a baby Peter, a mask could never hide you from me. He smiles and she tells him she is ok, she loves him and to go. He leaves, she goes into cardiac arrest, Doctors come in to work on her.

An all new Hobgoblin is holding Gwen by her neck at the top of a building at least 20 floors up, she is in her costume sans mask. ID’d by her dad on the ground, who is trying to negotiate and the Hobgoblin is completely messing with him and leading him on. Spiderman shows and pleads with him to not hurt the girl. Rags on him a bit for his take on the goblin gear. This is a different goblin. He likes to hurt and doesn’t give a crap about Spidey. He snaps Gwen’s neck with a squeeze, we see the life go out of her, and drops her. Spidey catches her in a line that snaps taut and lowers her to her father who blames spidey’s line for her broken neck. Hobgoblin flies off.

Aunt May is shown being covered by a sheet.

JJJ picks up on the story about the Stacy’s complete with photos from Parker’s camera and runs with it.

PP is devastated. He distances himself from the Russian girl and remembers that everyone he loves or allows to get close dies or leaves.

He wants to quit and find MJ but a series of terrible murders keeps him patrolling. He runs into Kasady, who now refers to himself as Karnage, by leaving it written in blood on a wall. Karnage defeats him easily and goes to kill him but thinks that since he seems to want to die he will deny that, and let him suffer to live.

Kasady returns to the orphanage that he grew up in, the money donated by spiderman has allowed the Orphanage to update records and he finds that he was related to the Osborns and is the sole heir. Now that he feels he finally has a home he goes to the penthouse and confronts the exec living there. He shows up as Kasady and the Exec tries to muscle him, Kasady stabs him through the gut and throws him away casually. The exec crawls his way to the goblin tech and exposes himself to a variant of the goblin formula in an attempt to save his own life.

Following the Kasady/Karnage trail, PP comes to terms with the deaths of those around him and is determined to stop this murderer. He goes to the penthouse and finds Kasady and Hobgoblin in the midst of battle. Peter tries sound and it doesn’t work, but fire does. Hobgoblin (made insane by the formula) proceeds to set fire to the penthouse. Spidey can do nothing and barely escapes himself, he hears the Hobgoblin and Kasady scream as the top floors collapse.

PP returns home, the Russian girl is sad and PP apologizes for being mean, she just walks away leaving him confused, he opens the door and MJ is there, she apologizes for leaving and wants to be there for him, she’s heard about Aunt May. Peter finally breaks down.

Epilogue:
Hobgoblin is delusional, he has horrific burns and much of his mask has been melted to his face, he believe he is a real goblin and will find his time for mischief.

Spiderman 6

Video of JJJ’s son landing on the moon and finding a mysterious jewel. He seems entranced by it.

Various videos seem to float in the air, acrobats, martial arts, wrestling, boxers, spiderman in action, swordsmen, gladiators all manner of combat. They flicker out, “got it all?”, “Got it”. Mysterio rises from the darkness in full costume and tells the man who was in the middle of the videos to get dressed, a bit of an ramboesque montage. Ending with the Taskmaster’s shield.

Spidey is back with MJ and they have moved into a better place, she is making a lot of money from a movie deal and that her next picture is shooting locally.

Peter is almost done with his Graduate work and is wondering where he will go from here. He wants to marry MJ but fears that being Spiderman will get in the way. While waiting for MJ to be done with a shoot, Spiderman swings by and proceeds to cause a disruption. Peter has a WTF moment and calls the guy Spectacular. He switched into costume and goes to confront the fake Spidey but when he arrives the fake one is gone and he is taking the heat for what happened.

This happens several more times. People see Spidey do bad things and some video shows up and analysis shows that they are definitely his moves. Spidey is on a rooftop when his spider sense goes off but he can’t see what’s coming. Lots of smoke and flashes of light and he finds the world around him distorted in crazy ways. He battles Taskmaster who mirrors him for a while, but with the distortions, Spidey is beaten.

JJJ has a field day with this and can finally bump the sewer goblin sightings off the front page. Unfortunately he also has to bump his son’s return from the moon off the front page as well, he justifies it becaue he does not like the picture. John is looking a bit haggard and angry and has the jewel around his neck.

MJ loses it when Peter does not come home, one day, two days go by and he is still gone, Spider man is still spotted, still making trouble and does not seem to know MJ or doesn’t care.

Spiderman wakes up in a warehouse, he is weak and groggy. Mysterio hunts him, using illusions and hallucinations to drive spiderman, finally he corners Spidey and uses more chemicals and FX in an attempt to push him over the edge. Peter hangs on through his love for MJ and turns the attack back on Mysterio, leaving him babbling.

Spidey confronts the false Spidey and MJ sees them together. T-Spidey grabs MJ as a hostage, Spidey doesn’t hesitate smacks him with impact webbing in the face and MJ jams a costume piece into his leg and breaks away. Spiderman goes to town on him, the movie crew captures the two Spideys battling. T-Spidey gets away long enough to change into his full equipment and battles as Taskmaster. Spidey realizes that he’s fought this guy before and after being blinded by a shield strike depends completely on his spider sense to fight. Taskmaster is beaten soundly.

Peter comments that MJ can take pretty good care of herself, she tells him he is no slouch. He tells her that he loves her and that is what kept him alive. He asks she accepts, at the wedding she tells him that the movie company wants her to get Spiderman to make a movie, top dollar!

JJJ prints his retractions and celebrates his son’s return from the moon and demading pictures of a new werewolf like creature being spotted. – Moonwolf.

[…] Comic Book Resource have been talking with Sam Raimi. I have extracted the Spiderman 4 parts of the interview for you here, though I recommend reading the full article as it gives an interesting insight into the thoughts and processes behind Raimi himself. Do you have any inclination yet towards whether youâ€™d like to produce or direct the next Spider-Man movie, or is too early to call? […]

BobO

Sam, for God sake, FORGET hobbits, take a much deserved break while this writers strike rages and then come out swinging and make Spider-Man 4! Mr. Raimi has delivered the BEST trilogy of the 21st century (trumping the entire cast of characters from LOTR)and fans deserve to see him stretch it to a fourth film. If Sony wants to relaunch with a new cast and director, just wait until after SM4. Good things don’t have to automatically come in three. Besides a few whinny fanboys, who wouldn’t want a fourth Tobey/Raimi Spider-Man?

roger

I loved the second film because a great job was done on Doc Octopus. The film version of the Green Goblin in Spiderman 1 was the worse I’ve ever seen. Where’s the insanity and where was GG’s real costume? The Green Goblin’s costume is a classic. That’s what makes the character. You can’t put him in a green “Power Ranger villian’s costume.” His “stun pumpkins” hardly looked like Jack-O-Lanterns. Now that Harry Osborne is dead- I guess we’ll never see the “my friend my foe” relationship develop that has made Spiderman a great comic book.

I think Hollywood takes too many liberites with superhero movies. Spiderman films are a billion dollar success because Marvel Comics has successfully marketed this character for 40 years. Why won’t Hollywood just give the fans what they expect? Stay true to the style of the character Marvel has developed.

Spiderman was great in all three movies but I’m still waiting for the Green Goblin to show up. The people making the decisions on these films are not students of the material.

[…] Here is a small excerpt from the interview, you can check the rest out at Comic Book ResourceÂ Thatâ€™d be cool. Do you have any inclination yet towards whether youâ€™d like to produce or direct the next Spider-Man movie, or is too early to call? […]

[…] And from CBR Sam: If I was writing it I would have a very strong opinion about that, but we’re hiring a writer to come up with his own take. Sony was willing to go either way, we’ll just have to wait and see what the writer comes up with. I think anything’s possible, though. […]

Comics Should be Good great title, anyway Rohan Williams, Sam Raimi and Rob Tapert are discussing what stories to use, for Spiderman 4, 5, and 6. Well, I excited to hear that James Vanderbilt is writing Spiderman 4. I’m pretty sure that he will use Venom’s symbiote storyline, since Venom has appeared in Spiderman 3. Now, that The Green Goblin and Doctor Octopus have come and gone, they can bring in, The Lizard, Black Cat, more Venom and Carnage Venom’s psychopathic offspring to really get our spider-sense tingling. Now, Mark Millar another writer commented, that he wants to write the script for Bryan Singers’s 2010 project Superman:The Man of Steel which, I believe will be spectacular, eventhough, Superman Returns was a slight disappointment the movie was Academy Awards and Oscar nominee success, I’m happy about that. Now, Mark Millar the genious behind Marvel’s recent Civil War comic event, he was one of the writers btw. Mark Millar wants to take Superman back into his comic book roots which, is smart, because when you pull the character away from his original origins they are destroyed. Same thing, or Batman, Hulk and Spiderman, keep them in their original comic book origins.

Thanks, Everyone for your ideas, I want to go with the continued symbiote story with Venom returning and Carnage making his debut appearance with Venom to destroy Spiderman. The Lizard appears and Black Cat to team with Spiderman to defeat Venom and Carnage.

[…] Raimi said the following to Comic Book Resources… If I was writing it I would have a very strong opinion about that, but we’re hiring a writer to come up with his own take. Sony was willing to go either way, we’ll just have to wait and see what the writer comes up with. I think anything’s possible, though. […]

[…] I’m on a Marvel film kick today … Sam Raimi, director of Spider-Man 1-3, will stay on as producer for the fourth film. Comic Book Resources recently talked to Raimi regarding what will happen in the next installment of the series. When asked about continuity with the other films, he responded by saying: “If I was writing it I would have a very strong opinion about that, but weâ€™re hiring a writer to come up with his own take. Sony was willing to go either way, weâ€™ll just have to wait and see what the writer comes up with. I think anythingâ€™s possible, though.” […]

[…] 28, 2007 Sam Raimi Weighs In On The Future of Spiderman Posted by CrackerBob under Marvel | Tags: 30 Days of Night, Ghost House Pictures, Rob Tapert, RoganWilliams, Sam Raimi, Spiderman | Comics Should Be Good! has a guest interview by Rohan Williams with Sam Raimi and his partner in Ghost House Pictures production studio, Rob Tapert. […]

[…] Sam: Itâ€™s not really my choice. The Hobbit has always been Peter Jacksonâ€™s picture, and I believe from what Iâ€™ve read that he is back in negotiations with New Line Cinema, and like all fans of his, Iâ€™m hoping that heâ€™ll make it. So until I hear differently, Iâ€™m going to assume thatâ€™s whatâ€™s going to happen. Now, if he ever decides not to make it, I would love to be considered for it. Sam Raimi Talks ‘The Hobbit’…Again […]

Cristian

I think the reason why Spider-man 3 story did not sell as well as the first two films is because the third one had too many villains. It would be better if the new writer James Vanderbilt would make a story with only one villain (Lizard)in the fourth movie. And I will love to see Sam Raimi direct the fourth part and Tobey Maguire as Spidy. If all that is changed in the 4th part then there’s going to be a man less in movie theatres, me.

Rohan Williams

Great to see so much interest around the net for this post (as well as the links you can see in these comments, there’s also a healthy thread at Superhero Hype dedicated to this post). Thanks for taking a look, and if any of you are Queensland residents, I’d urge you to pick up next week’s edition of the mag for the Raimi feature article.

As a fan of all of Raimi’s films and the Spider-Man comics, one of the most interesting quotes from that perspective was Raimi’s view on the marriage. Given ongoing events in the ‘mainstream’ Spidey titles, it’s interesting to see what the guy who serves as the medium of Spidey stories to the true mainstream thinks. He makes a very persuasive argument in that regard, in my opinion.

The second part is up now. While not loaded with Spider-Man questions, and therefore not guaranteed to spark interest from the interwebs, I think it’s pretty fascinating for fans of the great work that Raimi and Tapert have done together over the years (Tapert didn’t work on the Spider-Man films), as well as anybody wanting to see the more personal side of a blockbuster film maker.

The Movie should be about Peter Parker is going to propose one more time.But,when Dr.Conners tries to fix his arm,his project fixed his arm,but his D.N.A went mad and transforms into monsterous reptile called(The Lizard).But that’s not all,Venom was destroyed but nobody knew he had a son!His son is now transformed into Carnage(Ron Westley),Hobgoblin(Gary Jones),
Lizard(Dylan Baker),Shocker(Ashston Kutcher),and Mysterio(Hedge Leather).Will Peter Parker as Spider-man (Tobey Maguire) can defeat these 5 villians,propose to Mary Jane Waltson and could he keep Mary Jane Waltson(Kirsten Dunst)?See the new version of 2009’s (Spider-man 4)!

[…] If you’re new here, you may want to subscribe to my RSS feed. Thanks for visiting and don’t forget to tip your waitress!!Comics Should Be Good! has a guest interview by Rohan Williams with Sam Raimi and his partner in Ghost House Pictures production studio, Rob Tapert. […]

[…] Comic Book Resource have been talk­ing with Sam Raimi. I have extracted the Spi­der­man 4 parts of the inter­view for you here, though I rec­om­mend read­ing the full arti­cle as it gives an inter­est­ing insight into the thoughts and processes behind Raimi himself. Do you have any incli­na­tion yet towards whether you’d like to pro­duce or direct the next Spider-Man movie, or is too early to call? […]

[…] “…Rob [Tapert], myself and Bruce Campbell sat in hundreds of drive-ins…not hundreds, but tens of drive-ins, watching these movies and learning how they were made, and we started to make our own in Super 8. And that’s really how we got into horror films. After a while we learned to really like them, and the craft that went into them.” — Sam Raimi, 2007 […]